Antony N Britt (calls himself Nick, to be awkward) is the author of horror novel, Dead Girl Stalking – a page-turning tale that slaps you in the face when you least expect it. He lives in Walsall in a house full of CDs, videos, books and many unread pieces of paper which may hold the secret to eternal life, but are most probably pizza menus.

Dead Girl Stalking on Amazon. Available in Paperback or Kindle Download

Dead Girl Stalking

The first date ended with her death; the second was more terrifying. He wants to end their relationship; the dead have other ideas.

When teenager Melvin Stone is not being bullied at school, he suffers from voices inside his head which have tormented him much of his life. Melvin’s life is thrown further into turmoil when the girl of his dreams is killed in a tragic accident. For any young adult, witnessing this would be traumatic enough but over the next four years he is plagued by the recurring presence of the dead girl. Whether spirit or in his own troubled mind, this malevolent tormentor now haunts Melvin’s every move.

The Commitments – The New Alexander Theatre, Birmingham – 15 March 2017

I went into The Commitments blind. I’ve not seen the film, or read the book, so at least I could evaluate this show on its own merits. And, oh, how disappointed I was. However good the earlier incarnations are supposed to be, The Commitments does not translate well to stage.

Straight from a lukewarm opener in Proud Mary which totally failed to make an impression, I was treated to a lacklustre Act One in which not a single number grabbed me. There was no flow or rhythm, and not only with the music. Too many characters diluted performances, giving no standout acting. Fast dialogue with little cohesion made the whole thing a mess. I like to be drawn into proceedings, feel as though I’m on stage and part of the wonderful theatre process. Not with The Commitments.

And Act Two was little better. After an hour of a first half which dragged, there were at least a few performances to make me sit up and take note now. But not many. (I Can’t Get No) Satisfaction was the first to make me really want to applaud, as was the case with Papa Was a Rolling Stone. These instances, however, were too few during the show.

I think the main issue was the flawed script which production had to work with. The book written by original author, Roddy Doyle, is poor with characters lacking anything which would make me want to warm to them. Basically, I didn’t care about any and even in the case of the unlikable, that’s criminal in writing, to have gained no empathy. Also, little use of choreography meant there weren’t any plus points to be salvaged in that department, either.

Only when we reached the encore/finale did the talents of those on stage have a chance to shine once free from the bindings of the awful script. However, Mustang Sally and best of the night – River Deep, Mountain High were too little, too late. Many of the audience were fed up by then and there was nothing to be salvaged. Even the premier number, Try a Little Tenderness, didn’t live up to expectations. Asked to get to their feet with hands in the air, roughly 30% of the audience obliged, when it should have been everybody.

Playing the part of Deco on this occasion was Ben Morris with Andrew Linnie (Jimmy), and former Coronation Street star, Kevin Kennedy as Jimmy’s Da. It was a shame for Kennedy to have such an underused and irrelevant role, his only purpose seeming to be to shout, “Turn that shite off,” every now and again. I wish they had turned it off.